The book examines how James Baldwin’s fiction and nonfiction shaped and responded to key political and cultural developments in the United States from the 1940s to the 1980s. It is animated by an ...
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The book examines how James Baldwin’s fiction and nonfiction shaped and responded to key political and cultural developments in the United States from the 1940s to the 1980s. It is animated by an examination of how external forces molded Baldwin’s personal, political, and psychological development and gave shape to his writing. The book views Baldwin through a cultural-historical lens alongside a more traditional literary critical approach. Crucially, it breaks through the established critical difficulties caused by Baldwin’s geographical, ideological, and artistic multiplicity by analyzing his life and work against the radically transformative politics of his time. The book explores under-researched areas in Baldwin’s life and work—his relationship to the Left, his FBI files, and the significance of Africa in his writing—while also contributing to wider discussions about race, identity, love and sexuality in postwar US culture. In this way, the book contributes to a broader understanding of some key twentieth-century themes—including the Cold War, African American literary history, conflicts between spirituality and organized religion, and transnationalism—but also brings a number of academically isolated disciplines into dialogue with each other. By viewing Baldwin as a subject in flux, rather than trying to fix his life and work into a single paradigm, the project contradicts the accepted critical paradigm that Baldwin’s life and work are too ambiguous to make sense of. It argues that it is precisely by studying Baldwin as an individual and an artist in flux that one begins to uncover the ways in which his work coheres.Less

All Those Strangers : The Art and Lives of James Baldwin

Douglas Field

Published in print: 2015-07-01

The book examines how James Baldwin’s fiction and nonfiction shaped and responded to key political and cultural developments in the United States from the 1940s to the 1980s. It is animated by an examination of how external forces molded Baldwin’s personal, political, and psychological development and gave shape to his writing. The book views Baldwin through a cultural-historical lens alongside a more traditional literary critical approach. Crucially, it breaks through the established critical difficulties caused by Baldwin’s geographical, ideological, and artistic multiplicity by analyzing his life and work against the radically transformative politics of his time. The book explores under-researched areas in Baldwin’s life and work—his relationship to the Left, his FBI files, and the significance of Africa in his writing—while also contributing to wider discussions about race, identity, love and sexuality in postwar US culture. In this way, the book contributes to a broader understanding of some key twentieth-century themes—including the Cold War, African American literary history, conflicts between spirituality and organized religion, and transnationalism—but also brings a number of academically isolated disciplines into dialogue with each other. By viewing Baldwin as a subject in flux, rather than trying to fix his life and work into a single paradigm, the project contradicts the accepted critical paradigm that Baldwin’s life and work are too ambiguous to make sense of. It argues that it is precisely by studying Baldwin as an individual and an artist in flux that one begins to uncover the ways in which his work coheres.

The 1780s and 1790s were a critical era for communities of color in the new United States of America. Even Thomas Jefferson observed that in the aftermath of the American Revolution, “the spirit of ...
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The 1780s and 1790s were a critical era for communities of color in the new United States of America. Even Thomas Jefferson observed that in the aftermath of the American Revolution, “the spirit of the master is abating, that of the slave rising from the dust.” This book explores the means by which the very first black and Indian authors rose up to transform their communities and the course of American literary history. It argues that the origins of modern African American and American Indian literatures emerged at the revolutionary crossroads of religion and racial formation as early black and Indian authors reinvented American evangelicalism and created new postslavery communities, new categories of racial identification, and new literary traditions. While shedding light on the pioneering figures of African American and Native American cultural history—including Samson Occom, Prince Hall, Richard Allen, Absalom Jones, and John Marrant—this work also explores a set of little-known black and Indian sermons, narratives, journals, and hymns. Chronicling the early American communities of color from the separatist Christian Indian settlement in upstate New York to the first African Lodge of Freemasons in Boston, it shows how 18th-century black and Indian writers forever shaped the American experience of race and religion.Less

American Lazarus : Religion and the Rise of African American and Native American Literatures

Joanna Brooks

Published in print: 2007-06-01

The 1780s and 1790s were a critical era for communities of color in the new United States of America. Even Thomas Jefferson observed that in the aftermath of the American Revolution, “the spirit of the master is abating, that of the slave rising from the dust.” This book explores the means by which the very first black and Indian authors rose up to transform their communities and the course of American literary history. It argues that the origins of modern African American and American Indian literatures emerged at the revolutionary crossroads of religion and racial formation as early black and Indian authors reinvented American evangelicalism and created new postslavery communities, new categories of racial identification, and new literary traditions. While shedding light on the pioneering figures of African American and Native American cultural history—including Samson Occom, Prince Hall, Richard Allen, Absalom Jones, and John Marrant—this work also explores a set of little-known black and Indian sermons, narratives, journals, and hymns. Chronicling the early American communities of color from the separatist Christian Indian settlement in upstate New York to the first African Lodge of Freemasons in Boston, it shows how 18th-century black and Indian writers forever shaped the American experience of race and religion.

This book investigates the shaping influence of the American slave narrative on the Victorian novel in the years between the British Abolition Act and the American Emancipation Proclamation. In a ...
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This book investigates the shaping influence of the American slave narrative on the Victorian novel in the years between the British Abolition Act and the American Emancipation Proclamation. In a period when few books sold more than five hundred copies, slave narratives sold in the tens of thousands, providing British readers vivid accounts of the violence and privation experienced by American slaves. The book argues that Charlotte Brontë, W. M. Thackeray, Elizabeth Gaskell, Charles Dickens, and Fanny and Robert Louis Stevenson integrated into their works generic elements of the slave narrative, from the emphasis on literacy as a tool of liberation, to the teleological journey from slavery to freedom, to the ethics of resistance over submission. It contends that Victorian novelists were attempting to access the slave narrative's paradigm of resistance, illuminate the transnational dimension of slavery, and articulate Britain's role in the global community. The slave narrative becomes part of the textual network of the English novel, making visible how black literary, as well as economic, production contributed to English culture.Less

The American Slave Narrative and the Victorian Novel

Julia Sun-Joo Lee

Published in print: 2010-03-12

This book investigates the shaping influence of the American slave narrative on the Victorian novel in the years between the British Abolition Act and the American Emancipation Proclamation. In a period when few books sold more than five hundred copies, slave narratives sold in the tens of thousands, providing British readers vivid accounts of the violence and privation experienced by American slaves. The book argues that Charlotte Brontë, W. M. Thackeray, Elizabeth Gaskell, Charles Dickens, and Fanny and Robert Louis Stevenson integrated into their works generic elements of the slave narrative, from the emphasis on literacy as a tool of liberation, to the teleological journey from slavery to freedom, to the ethics of resistance over submission. It contends that Victorian novelists were attempting to access the slave narrative's paradigm of resistance, illuminate the transnational dimension of slavery, and articulate Britain's role in the global community. The slave narrative becomes part of the textual network of the English novel, making visible how black literary, as well as economic, production contributed to English culture.

This book explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of ...
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This book explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of national reach and scope among free African Americans), this book is thus at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals. The book pairs a longitudinal sense of the Recorder’s ideological, political, and aesthetic development with the fullest account available of how the physical paper moved from composition to real, traceable subscribers. It builds from this cultural and material history of a key early Black newspaper to recover and analyze diverse and often unknown texts published in the Recorder including letters, poems, and a serialized novel—texts that were crucial to the development of African American literature, African American history, and African American culture and that challenge our senses of genre, authorship, and community. This book offers a case study for understanding how African Americans inserted themselves in an often-hostile American print culture in the midst of the most complex conflict the young nation had yet seen, and it thus calls for a significant rewriting of our senses of African American—and so American—literary history to reflect the power of the Black press.Less

Eric Gardner

Published in print: 2015-09-01

This book explores the development of the Christian Recorder during and just after the American Civil War. As a study of the official African Methodist Episcopal Church newspaper (a periodical of national reach and scope among free African Americans), this book is thus at once a massive recovery effort of a publication by African Americans for African Americans, a consideration of the nexus of African Americanist inquiry and print culture studies, and an intervention in the study of literatures of the Civil War, faith communities, and periodicals. The book pairs a longitudinal sense of the Recorder’s ideological, political, and aesthetic development with the fullest account available of how the physical paper moved from composition to real, traceable subscribers. It builds from this cultural and material history of a key early Black newspaper to recover and analyze diverse and often unknown texts published in the Recorder including letters, poems, and a serialized novel—texts that were crucial to the development of African American literature, African American history, and African American culture and that challenge our senses of genre, authorship, and community. This book offers a case study for understanding how African Americans inserted themselves in an often-hostile American print culture in the midst of the most complex conflict the young nation had yet seen, and it thus calls for a significant rewriting of our senses of African American—and so American—literary history to reflect the power of the Black press.

This book addresses the specific conditions under and the pointed implications with which an ancient story about different orders of gods dueling over the fate of humanity became such a prominent ...
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This book addresses the specific conditions under and the pointed implications with which an ancient story about different orders of gods dueling over the fate of humanity became such a prominent fixture of Atlantic modernity. The Prometheus myth, for several reasons—its fortuitous geographical associations with both Africa and the Caucasus; its resonant iconography of bodily suffering; and its longue-duree function as a limit case for a Platonic-cum-Christian political theology of the Absolute, became a crucial site for conceptualizing human liberation in the immanent space of a finite globe structured by white domination and black slavery. The titan’s defiant theft of fire from the regnant gods was translated through a high-stakes racial coding either as an “African” revolt against the cosmic status quo that augured a pure autonomy—a black revolutionary immanence against which idealist philosophers like Hegel defined their projects and slaveholders defended their lives and positions—or as a “Caucasian” reflection of the divine power evidently working in favor of Euro-Christian civilization that transmuted the naked egoism of conquest into a righteous heteronomy—Euro-Christian civilization’s mobilization by the Absolute or its internalization of a transcendent principle of universal Reason. The Prometheus myth was available and attractive to its eighteenth- and nineteenth-century revivalists and reinventors—from canonical figures like Voltaire, Percy Shelley, Frederick Douglass, and Karl Marx to anonymous contributors of ephemera to abolitionist periodicals—not so much as a handy emblem of an abstract humanism but as the potential linchpin of a racialist philosophy of history.Less

Black Prometheus : Race and Radicalism in the Age of Atlantic Slavery

Jared Hickman

Published in print: 2016-11-24

This book addresses the specific conditions under and the pointed implications with which an ancient story about different orders of gods dueling over the fate of humanity became such a prominent fixture of Atlantic modernity. The Prometheus myth, for several reasons—its fortuitous geographical associations with both Africa and the Caucasus; its resonant iconography of bodily suffering; and its longue-duree function as a limit case for a Platonic-cum-Christian political theology of the Absolute, became a crucial site for conceptualizing human liberation in the immanent space of a finite globe structured by white domination and black slavery. The titan’s defiant theft of fire from the regnant gods was translated through a high-stakes racial coding either as an “African” revolt against the cosmic status quo that augured a pure autonomy—a black revolutionary immanence against which idealist philosophers like Hegel defined their projects and slaveholders defended their lives and positions—or as a “Caucasian” reflection of the divine power evidently working in favor of Euro-Christian civilization that transmuted the naked egoism of conquest into a righteous heteronomy—Euro-Christian civilization’s mobilization by the Absolute or its internalization of a transcendent principle of universal Reason. The Prometheus myth was available and attractive to its eighteenth- and nineteenth-century revivalists and reinventors—from canonical figures like Voltaire, Percy Shelley, Frederick Douglass, and Karl Marx to anonymous contributors of ephemera to abolitionist periodicals—not so much as a handy emblem of an abstract humanism but as the potential linchpin of a racialist philosophy of history.

Why did African American women novelists use idealized stories of bourgeois courtship and marriage to mount arguments on social reform during the last decade of the 19th century, during a time when ...
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Why did African American women novelists use idealized stories of bourgeois courtship and marriage to mount arguments on social reform during the last decade of the 19th century, during a time when resurgent racism conditioned the lives of all black Americans? Such stories now seem like apolitical fantasies to contemporary readers. This is the question at the centre of this book’s examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. The book is a literary study, but also a social and intellectual history—a cultural critique of a period that historian Rayford W. Logan has called “the Dark Ages of recent American history.” Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, the book argues that the idealized marriage plot in these novels does not merely depict the heroine’s happiness and economic prosperity. More importantly, that plot encodes a resonant cultural narrative—a domestic allegory—about the political ambitions of an emancipated people. Once this domestic allegory of political desire is unmasked in these novels, it can be seen as a significant discourse of the post-Reconstruction era for representing African Americans’ collective dreams about freedom and for reconstructing those contested dreams into consummations of civil liberty.Less

Domestic Allegories of Political Desire : The Black Heroine’s Text at the Turn of the Century

Claudia Tate

Published in print: 1996-09-19

Why did African American women novelists use idealized stories of bourgeois courtship and marriage to mount arguments on social reform during the last decade of the 19th century, during a time when resurgent racism conditioned the lives of all black Americans? Such stories now seem like apolitical fantasies to contemporary readers. This is the question at the centre of this book’s examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. The book is a literary study, but also a social and intellectual history—a cultural critique of a period that historian Rayford W. Logan has called “the Dark Ages of recent American history.” Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, the book argues that the idealized marriage plot in these novels does not merely depict the heroine’s happiness and economic prosperity. More importantly, that plot encodes a resonant cultural narrative—a domestic allegory—about the political ambitions of an emancipated people. Once this domestic allegory of political desire is unmasked in these novels, it can be seen as a significant discourse of the post-Reconstruction era for representing African Americans’ collective dreams about freedom and for reconstructing those contested dreams into consummations of civil liberty.

This book analyzes the legal and economic conflicts that occurred when nineteenth-century ideals of family collided with the realities of interracial intimacy. Counterposing nuanced literary ...
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This book analyzes the legal and economic conflicts that occurred when nineteenth-century ideals of family collided with the realities of interracial intimacy. Counterposing nuanced literary interpretations with significant law cases, the book reveals a shared preoccupation with the financial quandaries emerging from cross-racial sexual encounters. The book moves us well beyond scholarship’s usual emphasis on racial identity’s ambiguities, demonstrating instead how interracial intimacy forced confrontations over who counted as family and who had legal access to family money. At stake were the very notion of kinship and the distribution of wealth in the United States. This book explores the histories of formerly enslaved women who tried to claim inheritances left to them by deceased owners, the household traumas of mixed-race slaves, post-Emancipation calls for reparations, and the economic fallout from antimiscegenation marriage laws. Authors including Nathaniel Hawthorne, Frank Webb, Harriet Beecher Stowe, Charles Chesnutt, and Lydia Maria Child recognized that intimate interracial relationships took myriad forms, often simultaneously—sexual, marital, coercive, familial, pleasurable, and painful. Their fiction confirms that the consequences of these relationships for nineteenth-century Americans meant thinking about more than the legal structure of racial identity. Who could count as family (and when), who could own property (and when), and how racial difference was imagined (and why) were emphatically bound together.Less

Family Money : Property, Race, and Literature in the Nineteenth Century

Jeffory Clymer

Published in print: 2012-11-01

This book analyzes the legal and economic conflicts that occurred when nineteenth-century ideals of family collided with the realities of interracial intimacy. Counterposing nuanced literary interpretations with significant law cases, the book reveals a shared preoccupation with the financial quandaries emerging from cross-racial sexual encounters. The book moves us well beyond scholarship’s usual emphasis on racial identity’s ambiguities, demonstrating instead how interracial intimacy forced confrontations over who counted as family and who had legal access to family money. At stake were the very notion of kinship and the distribution of wealth in the United States. This book explores the histories of formerly enslaved women who tried to claim inheritances left to them by deceased owners, the household traumas of mixed-race slaves, post-Emancipation calls for reparations, and the economic fallout from antimiscegenation marriage laws. Authors including Nathaniel Hawthorne, Frank Webb, Harriet Beecher Stowe, Charles Chesnutt, and Lydia Maria Child recognized that intimate interracial relationships took myriad forms, often simultaneously—sexual, marital, coercive, familial, pleasurable, and painful. Their fiction confirms that the consequences of these relationships for nineteenth-century Americans meant thinking about more than the legal structure of racial identity. Who could count as family (and when), who could own property (and when), and how racial difference was imagined (and why) were emphatically bound together.

Why can a “white” woman give birth to a “black” baby, while a “black” woman can never give birth to a “white” baby in the United States? What makes racial “passing” so different from social mobility? ...
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Why can a “white” woman give birth to a “black” baby, while a “black” woman can never give birth to a “white” baby in the United States? What makes racial “passing” so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making “miscegenation” appear as if it were incest? When did the myth that one can tell a person's race by the moon on their fingernails originate? How did blackness get associated with “the curse of Ham,” when the Biblical text makes no reference to skin color at all? This book, an exploration of “interracial literature,” examines these questions and others. In the past, interracial texts have been read more for a black–white contrast of “either–or” than for an interracial realm of “neither, nor, both, and in-between.” Intermarriage prohibitions have been legislated throughout the modern period and were still in the law books in the 1980s. Stories of black–white sexual and family relations have thus run against powerful social taboos. Yet much interracial literature has been written, and this book suggests its pervasiveness and offers new comparative and historical contexts for understanding it. It ranges across time, space, and cultures, analysing scientific and legal works as well as poetry, fiction, and the visual arts, to explore the many themes and motifs interwoven throughout interracial literature. From the etymological origins of the term “race” to the cultural sources of the “Tragic Mulatto,” the book examines recurrent images and ideas.Less

Werner Sollors

Published in print: 1997-10-02

Why can a “white” woman give birth to a “black” baby, while a “black” woman can never give birth to a “white” baby in the United States? What makes racial “passing” so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making “miscegenation” appear as if it were incest? When did the myth that one can tell a person's race by the moon on their fingernails originate? How did blackness get associated with “the curse of Ham,” when the Biblical text makes no reference to skin color at all? This book, an exploration of “interracial literature,” examines these questions and others. In the past, interracial texts have been read more for a black–white contrast of “either–or” than for an interracial realm of “neither, nor, both, and in-between.” Intermarriage prohibitions have been legislated throughout the modern period and were still in the law books in the 1980s. Stories of black–white sexual and family relations have thus run against powerful social taboos. Yet much interracial literature has been written, and this book suggests its pervasiveness and offers new comparative and historical contexts for understanding it. It ranges across time, space, and cultures, analysing scientific and legal works as well as poetry, fiction, and the visual arts, to explore the many themes and motifs interwoven throughout interracial literature. From the etymological origins of the term “race” to the cultural sources of the “Tragic Mulatto,” the book examines recurrent images and ideas.

Nightmare Envy and Other Stories is a study of Americanist writing and institutions in the twentieth century. Four chapters trace four routes through an “Americanist century.” The first is the hidden ...
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Nightmare Envy and Other Stories is a study of Americanist writing and institutions in the twentieth century. Four chapters trace four routes through an “Americanist century.” The first is the hidden history of American Studies in the United States, Europe, and Japan. The second is the strange career of “national character” in anthropology. The third is a contest between military occupation and cultural diplomacy in Europe. The fourth is the emergence and fate of the “American Renaissance,” as the scholar and literary critic F. O. Matthiessen carried a canon of radical literature across the Iron Curtain. Drawing on American and European archives, the book weaves cultural, intellectual, and diplomatic history with portraits of Matthiessen, Margaret Mead, Ruth Benedict, David Riesman, Alfred Kazin, and Ralph Ellison. It excavates the history of the Salzburg Seminar in American Civilization, where displaced persons, former Nazis, budding Communists, and glad-handing Americans met on the common ground of American culture. Many of our modern myths of the United States and Europe were formed in this moment. Some saw the United States assume the mantle of cultural redeemer. Others saw a stereotypical America, rich in civilization but poor in culture, overtake a stereotypical Europe, rich in culture and equally rich in disaster. Others found keys to their own contexts in American books, reading Moby-Dick in the ruins. Nightmare Envy and Other Stories chronicles American encounters with European disaster, European encounters with American fiction, and the chasms over which culture had to reach.Less

Nightmare Envy and Other Stories : American Culture and European Reconstruction

George Blaustein

Published in print: 2018-03-29

Nightmare Envy and Other Stories is a study of Americanist writing and institutions in the twentieth century. Four chapters trace four routes through an “Americanist century.” The first is the hidden history of American Studies in the United States, Europe, and Japan. The second is the strange career of “national character” in anthropology. The third is a contest between military occupation and cultural diplomacy in Europe. The fourth is the emergence and fate of the “American Renaissance,” as the scholar and literary critic F. O. Matthiessen carried a canon of radical literature across the Iron Curtain. Drawing on American and European archives, the book weaves cultural, intellectual, and diplomatic history with portraits of Matthiessen, Margaret Mead, Ruth Benedict, David Riesman, Alfred Kazin, and Ralph Ellison. It excavates the history of the Salzburg Seminar in American Civilization, where displaced persons, former Nazis, budding Communists, and glad-handing Americans met on the common ground of American culture. Many of our modern myths of the United States and Europe were formed in this moment. Some saw the United States assume the mantle of cultural redeemer. Others saw a stereotypical America, rich in civilization but poor in culture, overtake a stereotypical Europe, rich in culture and equally rich in disaster. Others found keys to their own contexts in American books, reading Moby-Dick in the ruins. Nightmare Envy and Other Stories chronicles American encounters with European disaster, European encounters with American fiction, and the chasms over which culture had to reach.

The postwar period witnessed an outpouring of white life novels, that is texts by African American writers focused almost exclusively on white characters. Almost every major mid-twentieth-century ...
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The postwar period witnessed an outpouring of white life novels, that is texts by African American writers focused almost exclusively on white characters. Almost every major mid-twentieth-century black writer published one of these anomalous texts. Controversial since their publication in the 1940s and 1950s, these novels have since fallen into obscurity, given the challenges they pose to traditional conceptions of the African American literary canon. Playing in the White aims to bring these neglected novels back into conversations about the nature of African American literature and the unique expectations imposed on black texts. In a series of nuanced readings, Li demonstrates how postwar black novelists were at the forefront of what is now commonly understood as whiteness studies. Novels like Hurston’s Seraph on the Suwanee and Wright’s Savage Holiday, once read as abdications of the political imperative of African American literature, are revisited with an awareness of how whiteness signifies in multivalent ways that critique America’s abiding racial hierarchies. These novels explore how this particular racial representation is freighted with social power and narrative meaning. Whiteness repeatedly figures in these texts as a set of expectations that are nearly impossible to fulfill. By describing characters who continually fail at whiteness, white life novels ask readers to reassess what race means for all Americans. Along with its close analysis of key white life novels, Playing in the White also provides important historical context to understand how these texts represented the hopes and anxieties of a newly integrated nation.Less

Playing in the White : Black Writers, White Subjects

Stephanie Li

Published in print: 2015-01-07

The postwar period witnessed an outpouring of white life novels, that is texts by African American writers focused almost exclusively on white characters. Almost every major mid-twentieth-century black writer published one of these anomalous texts. Controversial since their publication in the 1940s and 1950s, these novels have since fallen into obscurity, given the challenges they pose to traditional conceptions of the African American literary canon. Playing in the White aims to bring these neglected novels back into conversations about the nature of African American literature and the unique expectations imposed on black texts. In a series of nuanced readings, Li demonstrates how postwar black novelists were at the forefront of what is now commonly understood as whiteness studies. Novels like Hurston’s Seraph on the Suwanee and Wright’s Savage Holiday, once read as abdications of the political imperative of African American literature, are revisited with an awareness of how whiteness signifies in multivalent ways that critique America’s abiding racial hierarchies. These novels explore how this particular racial representation is freighted with social power and narrative meaning. Whiteness repeatedly figures in these texts as a set of expectations that are nearly impossible to fulfill. By describing characters who continually fail at whiteness, white life novels ask readers to reassess what race means for all Americans. Along with its close analysis of key white life novels, Playing in the White also provides important historical context to understand how these texts represented the hopes and anxieties of a newly integrated nation.

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